The Sphinx Organization is the social justice organization dedicated to transforming lives through the power of diversity in the arts. Sphinx’s four program areas – Education & Access, Artist Development, Performing Artists, and Arts Leadership – form a pipeline that develops and supports diversity and inclusion in classical music at every level:
Artists performing on stage
Repertoire and programming
Communities represented in audiences
Artistic and administrative leadership
Sphinx was founded in 1997 by violinist Aaron P. Dworkin with the goal of addressing the underrepresentation of people of color in classical music. The name Sphinx, inspired by the mythical creature and legendary statue, reflects the power, wisdom and persistence that characterize Sphinx’s participants, as well as the enigmatic and interpretive nature of music and art.
Now led by President and Artistic Director Afa S. Dworkin, Sphinx programs reach more than 100,000 students and artists as well as live and broadcast audiences of more than 2 million annually.
Here’s a brief overview of all the work the Sphinx Organization does. Click on each link to navigate through the article and learn more!
After months of practice and anticipation, performing in a music exam can feel like an adrenaline-fuelled sprint to the finish line that passes in a blur of pieces, scales and musical tests. As an exam board, we know that exams can be stressful, and we at ABRSM want to make sure that learners’ exam experiences are as positive as possible. To make sure that learners can really succeed, we carefully select exam syllabus pieces that allow them to demonstrate their talents. We live for inspiring and challenging learners!
If a music exam is a sprint, then our experience of putting together an exam syllabus is more of an endurance event involving a huge amount of music. We take an open approach to our syllabus creations, and for ABRSM’s Bowed Strings syllabus (2020-2023) we: ran multiple surveys with teachers, learners and examiners; engaged a variety of strings consultants; and had several ruthless stages of revisions.
Many Urtext editions and their sources cross the desk of an editor at the G. Henle publishing house – but we are seldom dealing with such a comprehensive source documentation as is the case with Elgar’s violin sonata. Nearly ever step of the work’s genesis can still be retraced today, and yet in preparing this edition its editors were constantly confronted with unresolved issues – how could that be?
In August 1918 Elgar’s wife, Alice, mentions in her diary: “E. writing wonderful new music, different from anything else of his. A. [i.e., Alice herself] calls it wood magic. So elusive and delicate.” The start of work on this “Wood magic [reference to the location of their country manor near the Fittleworth woods in West Sussex?]” is captured in sketch material. We see literally how Elgar initially recorded crucial themes that he wanted to develop further later on. Before the first accolade of what is apparently the first sketch, you will find Elgar’s remark: “1. idea.” This “first idea” consists of the opening bars of the first movement, and it appears that Elgar actually worked through the entire sonata from “start to finish.” The sketches for the 2nd movement play a special role here, for here he enshrined in music his response to sad news from his circle of friends (a death and an illness). This is existential music that Elgar sent — an exceptional instance — in the sketch stage to the woman friend injured in an accident, so that she could share in the composition: “This I wrote just after your telegram about the accident came & I send you the pencil notes as first made at that sad moment.” The sketches still extant today are in fact snapshots giving us an insight into Elgar’s workshop. more “From Sketch to First Edition: The (Almost) Seamless Source Documentation of Edward Elgar’s Violin Sonata – from G. Henle Verlag”…
If you’re wondering what this harp-table looking instrument is, you’re in the right place. The Guzheng, also known as the Chinese zither, is a wood plucking instrument that can have 21 or more strings.
1. Guzheng players wear fake nails.
No, not the ones you can get from the nail salon. These fake nails are actually called finger picks and they’re usually made out of turtle shell. Guzheng players use a cloth tape that was made to tape the picks on the top of their right hand fingers. Not all of them, only the first four. As one increases in level, they would also wear the finger picks on their left hand too. These not only protect your fingers from blistering, but also make sure that the sound comes out bright and not muffled when the string is plucked.more “10 Things You Should Know About the Guzheng”…